Bach Bibliography Search Result

Series : ^JMTheory$
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Type	List	Title [further info]	Series	Vol	No	Year	Pages	Status
		[]
	1.	The Mutable Subject: Tonal and Rhythmic Transformations in Selected Fugues of J. S. Bach.	JMTheory	58	1	Spring 2014	1-24
	2.	The Origins of Harmonic Analysis.	JMTheory	18	2	Autumn 1974	274-306
	3.	The True Principles for the Practice of Harmony by Johann Philip Kirnberger.	JMTheory	23	2	Autumn 1979	163-226
	4.	The Eleventh and Thirteenth Partials.	JMTheory	5	1	Spring 1961	95-107
	5.	Enlightenment Aspirations of Progress in Eighteenth-Century German Theory.	JMTheory	47	2	Fall 2003	273-304
	6.	Diminutional rhythm and melodic structure.	JMTheory	32	1	Spring 1988	1-22
	7.	Symposium on 17th Century Music Theory: Germany.	JMTheory	16	1-2	Spring-Winter 1972	36-49
	8.	Modal Identity and Irregular Endings in Two Chorale Harmonizations by J. S. Bach.	JMTheory	38	1	Spring 1994	43-77
	9.	Fugue and Rhetoric.	JMTheory	21	1	Spring 1977	49-109
	10.	Regions: A Theory of Tonal Spaces in Early Medieval Treatises.	JMTheory	40	1	Spring 1996	113-147
	11.	Eighteenth-Century Science and the 'Corps Sonore:' The Scientific Background to Rameau's 'Principle of Harmony'.	JMTheory	31	1	Spring 1987	23-50
	12.	Some Models of Unity in Musical Form.	JMTheory	19	1	Spring 1975	2-31
	13.	Perceived hierarchic Structure in Language and Music.	JMTheory	15	1-2	Spring-Winter 1971	112-137
	14.	The Large-Scale Formal Role of the Solo Entry Theme in the Eighteenth-Century Concerto.	JMTheory	44	2	Autumn 2000	381-450
	15.	The Real Relationship between Kirnberger's and Rameau's 'Concept of the Fundamental Bass'.	JMTheory	21	2	Autumn 1977	324-338
	16.	The Objective Measurement of Goodness-of-Fit for Tunings and Temperaments.	JMTheory	17	2	Autumn 1973	274-290
	17.	Some Group Properties of Triple Counterpoint and Their Influence on Compositions by J. S. Bach.	JMTheory	32	1	Spring 1988	23-49
	18.	'Of the Manner of Playing the Adagio': Structural Levels and Performance Practice in Quantz's 'Versuch'.	JMTheory	31	2	Autumn 1987	205-223
	19.	Six Random Measures of C. P. E. Bach.	JMTheory	10	1	Spring 1966	139-151
	20.	Harmonic Theory in England after the Time of Rameau.	JMTheory	1	2	Nov 1957	126-146
	21.	Inventing a Melody with Harmony. Tonal Potential and Bach's 'Das alte Jahr vergangen ist'.	JMTheory	50	1	Spring 2006	77-101
	22.	Information theory for musical continua.	JMTheory	25	1	Spring 1981	17-44
	23.	Johann Mattheson on Affect and Rhetoric in Music.	JMTheory	2	1, 2	Apr; Nov 1958	47-84; 193-236
	24.	Toward a Formal Theory of Tonal Music.	JMTheory	21	1	Spring 1977	111-171
	25.	The Recognition of Major and Minor Keys in German Theory: 1680-1730.	JMTheory	22	1	Spring 1978	65-103
	26.	Notes on the Opening of the F# Minor Fugue from WTCI.	JMTheory	42	2	Autumn 1998	235-239
	27.	Mersenne on Keyboard Tuning.	JMTheory	24	2	1980	167-203
	28.	The Harmonic Theories of Kirnberger and Marpurg.	JMTheory	4	2	Nov 1960	169-193
	29.	Kirnberger's 'Thoughts on the Different Methods of Teaching Composition as Preparation for Understanding Fugue'.	JMTheory	30	1	Spring 1986	71-96
	30.	Of time and eternity: Reflections on 'Das alte Jahr vergangen ist'.	JMTheory	50	1	Spring 2006	64-76
	31.	[on Wilford W. Berard's article 'The Eleventh and Thirteenth Partials']	JMTheory	5	2	Winter 1961	334-336
	32.	Marpurg versus Kirnberger: theories of fugal composition.	JMTheory	14	2	Winter 1970	209-236
	33.	The Ninth Chord in German Theory.	JMTheory	26	1	Spring 1982	61-100
	34.	Structural Tonic or Apparrent Tonic?: Parametric Conflict, Temporal Perspective, and a Continuum of Articulative Possibilities.	JMTheory	39	2	Autumn 1995	245-283
	35.	Process Structuring and Music Theory.	JMTheory	18	2	Autumn 1974	308-336
	36.	Schenker's octave lines reconsidered.	JMTheory	43	1	Spring 1999	101-133
	37.	Key Structure in 'Das alte Jahr vergangen ist'.	JMTheory	50	1	Spring 2006	103-110
	38.	Metrical displacement and metrically dissonant hemiolas.	JMTheory	57	1	Spring 2013	87-118